PROBLEMS  IN  FURNITURE  MAKING 

BY  FRED  D.  QRAWSHAW,  B.  S.,  M.  E. 


Professor  of  Manual  Arts,  The  University  of  Wisconsin. 

Author  of  "Problems  in   Wood-Turnine,"    "Metal  Spinning," 

"Manual  Arts  for  Vocational  Ends,"  Etc. 


FIFTH  EDITION  1 


THE  MANUAL  ARTS  PRESS 

PEORIA,  ILLINOIS 


COPYRIGHT 

THE  MANUAL  ARTS  PRESS 
1912 

Fifth  Edition,  1913 


4 


FOREWORD 

THIS  book  is  presented  to  the  public  to  assist  those  who  are  interested  in  the  design  and 
construction  of  simple  furniture.     It  is  planned,   also,   to  be   of  assistance   to   instructors 
and  students  as  a  partial  text,  but  more  particularly  as  a  class  reference  book. 
Many  of  the  problems  have  been  worked  by  eighth  grade  pupils.     It  is  believed  that  all  are 
capable  of  solution  by  the  average  high  school  pupil  after  he  has  had  one  year's  experience  in 
bench  woodwork. 

The  particular  value  of  the  revised  over  former  editions  of  "Problems  in  Furniture  Making" 
is  in  the  rewritten  and  enlarged  printed  portion  of  the  book  together  with  what  is  believed  to 
be  a  better  selection  of  problems,  both  new  and  old. 

While  many  of  these  problems  are  new,  some  are  familiar  because  of  their  long  use  as 
school  projects.  These  are  included,  with  modifications,  as  it  is  difficult  to  replace  them  with 
better  ones. 

The  author  is  indebted  to  his  many  friends  who  have  offered  helpful  suggestions  in  the 
design  and  selection  of  problems.  Those  marked  "F.  D.  C."  are,  in  many  cases,  original  only 
in  the  sense  that  the  general  proportions  and  dimensions  are  of  the  author's  selection. 

The  users  of  this  book  will  be  materially  assisted  in  interpreting  the  problems  by  the 
perspective  drawings  which  were  made  by  Edwin  V.  Lawrence,  Pittsburg,  Pa. 

F.  D.  CRAWSHAW. 


285886 


DESIGN 


Since  writing  the  chapter  on  "Design"  for  the  first 
issue  of  "Problems  in  Furniture  Making,"  the  author 
has  given  considerable  additional  attention  to  this 
subject.  The  chapter  on  "Form  and  Proportion"  in 
"Problems  in  Wood-Turning"  was  the  result  of  sub- 
sequent study  and  experience.  While  all  the  principles 
involved  therein  are  not  applicable  to  furniture  design, 
it  will  be  of  great  help  if  the  user  of  this  book  will 
familiarize  himself  with  them.  At  the  close  of  this 
present  chapter  a  chronological  summary  of  steps  taken 
in  the  design  of  a  piece  of  furniture  is  given.  The 
formal  arrangement  of  these  steps  is  the  result,  also, 
of  the  work  of  recent  years. 

In  order  that  intelligent  modifications  of  the  com- 
pleted designs  herein  presented  may  be  made,  and  that 
initiative  on  the  part  of  the  pupil  may  be  secured  in 
the  making  of  new  designs,  the  following  suggestions 
on  design  are  given : 

i.  General  lines  and  proportions.  The  general 
character  of  the  lines  will  be  largely  dependent  upon 
the  lines  in  the  pieces  of  furniture  with  which  the  one 
you  are  designing  is  to  be  associated ;  there  should 
be  a  general  harmony  of  line,  a  re-echo  of  line,  in  the 
room  as  well  as  in  the  single  piece  of  furniture.  The 
general  proportions  will  be  determined  by  the  space 


your  piece  of  furniture  is  to  fill  and  its  use.  In  case 
it  has  no  particular  place  in  the  home  or  there  is  not 
a  decided  need  for  it,  a  design  is  not  called  for.  It 
is  believed  that  much  of  the  furniture  of  either  poor 
or  mediocre  design  is  the  result  of  a  misdirected  effort 
due  to  a  misconceived  or  purely  mercenary  demand. 

2.  Construction.  The  shape  of  the  piece  of  furni- 
ture will  generally  determine  its  construction.  One 
will  hardly  make  a  mistake  in  the  selection  of  joints 
to  be  used,  but  there  are  many  forms  of  some  of  the 
principle  joints,  such  as  the  tenon-and-mortise  joint, 
from  which  to  select.  Here,  again,  one  must  be 
governed  by  that  fundamental  law  of  design,  viz., 
there  must  be  harmony.  If  the  general  design  is  a 
severe  one,  then  the  protruding  form  of  joint  will  be 
appropriate,  such  as,  for  example,  the  open  or  pinned 
tenon-and-mortise  joint  instead  of  the  closed  one  or 
the  screwed  construction  instead  of  the  nailed  butt- 
joint,  etc. 

Construction  is  no  less  an  important  factor  in  the 
ultimate  beauty  of  a  piece  of  furniture  than  is  its 
design.  The  best-designed  article  may  be  ruined  by 
poor  construction.  Makeshifts  such  as  glued-on  parts 
to  represent  protruding  tenons  and  pins  are  deprecated. 
The  butt-joint  fastened  by  means  of  screws  or  lag 


bolts  may  be  an  appropriate  form  of  construction  and 
serve  as  a  means  of  decoration,  but  it  should  not  be 
used  as  a  general  substitute  for  the  tenon-and-mortise. 
It  is  a  false  interpretation  of  honest  construction  and 
is  one  of  the  many  things  in  manual  training  which 
helps  to  swell  the  number  of  those  who  condemn  the 
subject  for  its  insufficiency  and  impractical  methods. 

3.  Decorative  features.  Simple  carving,  uphol- 
stering or  textile  or  leather  paneling  is  often  the  thing 
needed  to  give  a  piece  completeness  in  appearance, 
but,  ordinarily,  good  lines,  good  proportions  and  good 
finish  are  quite  sufficient  to  fulfil  all  esthetic  require- 
ments. The  simple  modeling  of  the  top  or  bottom  of 
a  post  and  the  introduction  of  broken  or  curved  lines 
in  some  of  the  rails  and  stiles  is  sufficient  decoration. 

In  addition  to  these  three  considerations,  it  is 
desired  to  call  attention  to  two  others  dependent  upon 
one  or  all  of  these  three : 

(a)  There  will  constantly  arise  as  one  works  over 
a  design  the  question  of  widths  and  lengths  of  cer- 
tain parts.  Some  of  these  will  be  definite  because  of 
the  use  to  which  the  piece  of  furniture  will  be  put, 
but  many  will  be  indefinite.  These  indefinite  dimen- 
sions may  be  determined  with  some  degree  of  accuracy 
if  one  will  carefully  consider  the  three  following  laws 
governing  arrangement. 

(1)  Uniform   spacing   of   similar  parts    is   usually 
unsatisfactory. 

(2)  Wide  masses  and  narrow  openings  should  be 


made  near  the  bottom  of  a  piece  instead  of  near  the 
top  to  give  the  feeling  of  stability. 

(3)  The  center  of  weight  in  a  design  should  be 
directly  below  the  center  of  gravity. 

(b)  The  satisfactory  filling  of  space  areas  is  often 
difficult.  This  is  largely  a  problem  in  decoration,  al- 
though it  may  be  one  in  construction  when  the  strength 
of  the  piece  of  furniture  is  an  important  factor  in 
the  design.  As  an  aid  toward  a  satisfactory  arrange- 
ment of  parts  in  a  given  area  the  designer  should 
become  familiar  with  the  term  "measure"  and  the 
principles  in  design  effecting  it,  viz.,  rhythm,  balance 
and  harmony,  as  set  forth  in  E.  A.  Batchelder's  book, 
"The  Principles  of  Design." 

The  requirements  of  the  individual  problem  must 
always  serve  as  the  basis  for  conclusions,  but  the  three 
laws  governing  arrangement  given  above  and  the  prin- 
ciple of  re-echo  or  harmony  of  line  will  prove  helpful 
guides. 

For  a  more  detailed  consideration  of  the  princi- 
ples of  design  in  connection  with  problems  in  furniture 
construction,  reference  is  here  made  to  an  article  by  the 
author  on  "Furniture  Design"  in  the  April,  1906,  number 
of  the  Manual  Training  Magazine ;  also  to  a  series 
of  articles  by  Prof.  Chas.  R.  Richards  on,  "A  College 
Course  in  Constructive  Design,"  Manual  Training  Maga- 
zine, Vol.  IX,  Nos.  2  and  3.  Attention  is  called  also 
to  the  chapter  on  "Form  and  Proportion"  in  "Problems 
in  Wood-Turning"  by  the  author.  Many  of  the  prin- 


ciples  set  forth  in  this  chapter,  especially  those  referring 
to  mass  divisions  and  combinations  are  applicable  in 
the  design  of  furniture. 

Steps  to  Take  in    Designing  a   Piece  of   Furniture. 

1.  In  response  to  a  need  for  a  piece  of  furniture 
consider  carefully  its  detailed  use. 

2.  Determine  the  material  to  be  used  in  construc- 
tion.    In  general,  close-grained  and  fine-textured  woods 
are    most    suitable    for    furniture    which    has    a    limited 
use  such  as  parlor  and  bedroom  pieces.     The  coarser- 
grained   woods   have  their  principle   use   in   living   and 
dining  room  furniture. 

Again  the  close-grained  and  hard  woods  are  best 
suited  to  pieces  of  furniture  having  many  curved  lines 
formed  either  by  modeling  or  turning.  The  coarser- 
grained  woods  should  be  used  principally  in  furniture 
of  severe  design. 

3.  Determine,   if  possible,   the  place  the  piece   of 
furniture  will  occupy  in  a  room.     This  will   fix   some 
of  the  definite  dimensions  and  will  enable  one  to  make 
a  wise  selection  of  the  kind  of  lines  to  be  used  that 
the    piece    may    be    harmoniously    associated    with    its 
companion  pieces. 

4.  "Block  in"  the  design  so  as  to  make  the  piece 
of    furniture    harmonize    with    the   general    "make    up" 
of  the  room.     Secure  harmony  by  having  a  re-echo  of 
line. 


5.  Consider  now  the  indefinite  or  detailed  dimen- 
sions to  make  all  parts   of  the  piece  members  of  one 
family.     This  will  result  in  unity.     All  details  such  as 
the  modeling  of  top  and  bottom  rails,  the  use  of  curves 
in  stiles  and  legs,  the  modeling  of  feet  and  top  of  legs 
or   posts,   and   the   making   of   metal   fittings,    etc.,   will 
affect  this  element — an  all  important  one — in  the  design. 

6.  Make   good   construction   and  proportion   serve 
as  an  important  factor  in  the  decoration  of  the  piece. 

7.  Before    considering   the    design    complete,    give 
careful    attention    to    the    three    fundamental    elements 
of   design :      viz. :     rhythm,   balance   and  harmony.      If 
the  several  parts  are  so  arranged  and  formed  that  there 
is  movement  as  the  eye  passes  from  one  part  to  another 
in  the  design,  then  rhythm  has  been  secured. 

If,  by  having  the  whole  arranged  symmetrically 
with  respect  to  an  axis  or  by  a  judicious  arrangement 
of  parts,  the  whole  seems  to  stand  or  hang  truly,  there 
is  balance. 

If  the  design  as  a  whole  does  not  "jar"  upon  one ; 
if  all  parts  seem  to  belong  together,  then  there  is  har- 
mony. The  design  is  a  unit. 

Correlation    In    Design. 

It  is  believed  that  no  better  line  of  work  can  be 
introduced  in  conjunction  with  woodwork  than  that 
commonly  called  "Decorative  Metal."  Many  woodwork 
constructions  are  enriched  by  the  addition  of  some 


escutcheon — a  strap,  a  hinge,  a  pull  or  a  corner  plate. 
The  making  of  these  metal  fittings  may  be  considered 
a  legitimate  part  of  a  course  of  study  in  woodwork, 
especially  one  in  which  emphasis  is  laid  upon  the  de- 
sign and  construction  of  furniture.  It  is  believed  there 
is  no  line  of  work  which  offers  a  greater  opportunity 
for  the  teaching  of  the  principles  of  design  and  for 
their  application  than  this.  There  is,  too,  not  only 
an  opportunity  but  a  demand  for  close  and  natural 
correlation  between  furniture  making  and  its  associate, 
decorative  metalwork. 


The  reader  who  would  take  advantage  of  the  above 
suggestion  to  embellish  his  course  in  woodwork  and  to 
avoid  the  deadening  influence  of  a  long  continued 
course  of  study  in  it  (many  of  them  now  run  from  the 
fifth  grade  through  the  second  or  even  the  fourth  year 
of  high  school)  will  do  well  to  familiarize  himself  with 
"Copper  Work"  by  Augustus  Rose,  and  a  series  of 
articles  by  Arthur  F.  Payne  on,  "Metalwork  with  Inex- 
pensive Equipment  for  the  Grammar  and  High  Schools," 
Manual  Training  Magazine,  Nos.  4  and  5,  Vol.  XI,  and 
Nos.  i,  2,  3,  4,  and  5,  Vol.  XII,  and  Nos.  2  and  4, 


CONSTRUCTION 


It  is  taken  for  granted  that  the  users  of  this  book 
have  had  some  instruction  in  the  use  of  tools.  It  is 
hoped  that  classes  in  manual  training  will  undertake 
to  construct  but  few  of  the  projects  herein  suggested 
until  they  have  had  at  least  the  equivalent  of  the  aver- 
age bench  woodwork  of  one  school  year.  It  is  not 
proposed,  therefore,  in  this  chapter,  to  dictate  in  detail 
any  method  of  using  tools,  but  to  give  in  the  few  follow- 
ing pages  some  specific  suggestions  for  the  cutting  of 
certain  joints  and  the  method  of  working  up  stock  for 
certain  classes  of  work,  in  the  hope  that  they  may  be 
helpful. 

It  is  believed  that  the  working  drawings  in  this 
book  show  the  method  of  construction,  as  a  rule.  It 
is  supposed  that  the  best  method  of  construction  is 
desired  in  any  piece  of  furniture  and  the  author  has 
given  what  he  believes  to  be  the  best  appropriate  method 
in  each  individual  case.  It  will  be  found  that  the 
butt-joint  is  used  in  all  pieces  where  lag  screws,  blue- 
headed  screws  or  wooden  pins  are  called  for.  Such 
pieces  should  be  measured  and  squared  for  length  by 
holding  them  together  by  means  of  a  clamp  during 
this  process.  The  fact  that  the  butt-joint  is  herein 
mentioned  does  not  mean  that  it  is  recommended.  It  is 
supposed  that  in  planing  stock  the  workman  will  estab- 


lish a  joint  edge  and  face  edge  from  which  all  squaring 
will   be   done. 

Assuming  that  one  year  of  bench  woodwork  has 
been  done  by  most  pupils  who  will  undertake  any  but  the 
simpler  problems  in  this  book  it  is  to  be  supposed  that 
woodworking  machinery  will  be  used  to  get  out  stock. 
Except  for  enough  hand  planing  to  take  off  machine 
marks,  the  planer  and  the  circular  saw  may  be  used 
to  prepare  most  pieces  of  a  project  ready  to  be  put 
together.  This  refers  both  to  cutting  to  length,  width 
and  thickness  and  to  cutting  joints.  The  following 
suggestions  are  given,  therefore,  for  the  order  of  work 
on  machines. 

Steps   to    be   Taken    on    Machines. 

1.  Select  boards  from  the  stock  pile  so  that  their 
length  and  width  will  permit  of  the  greatest  economy 
in  the  cutting  of  lumber. 

2.  With    a   hand   crosscut-saw,   cut  boards   to   ap- 
proximate lengths.     (It  is  assumed  that  a  bill  of  stock 
will  be  made  out  before  this  is  done.) 

3.  On   a   surface   planer,   or  better   on   an   edger, 
dress   one  side   and   one    edge   of   each   piece    for   face 
and  joint  edge. 


4.  With    joint    edge    against    rip-saw    guide,    saw 
lumber   to   approximate   widths.      Of   course   all   boards 
of  a  certain  width  will  be  ripped  before  the  guide  is 
reset. 

5.  With   face  side  against  the   bed   of   a   circular 
planer,   plane  all  stock  to   approximate   thickness.     All 
lumber  of  similar   thickness   will  be  planed  before  re- 
setting the  planer. 

All  stock  should  now  be  taken  to  the  bench  and 
dressed  to  the  finished  dimensions  with  hand  planes. 
Ends  of  boards,  except  where  they  will  show  in  the 
finished  project,  need  not  be  finished  by  hand. 

The  Cabinet- Maker's  Method  of  Getting  Out  Stock. 

Where  a  number  of  pieces  of  wood  are  gotten  out 
for  one  piece  of  furniture  it  is  wise  to  be  very  syste- 
matic in  the  method  of  laying  out  and  sawing  up  these 
pieces.  The  following  method  is  suggested  as  good : 
From  a  complete  working  drawing  of  the  piece  of 
furniture  to  be  made,  make  an  itemized  list  of  all  pieces 
of  wood,  putting  those  together  in  the  list  that  have 
equal  widths  and  lengths,  and  making  note  of  different 
thicknesses  if  there  are  any. 

The  cabinet-maker's  method  of  working  consists 
in  doing  all  similar  operations  on  all  pieces  while  tools 
and  machines  are  set.  If  this  happens  to  be  the  cutting 
of  tenons  or  the  boring  of  mortises,  be  careful  to  com- 
plete this  work  on  all  pieces  before  beginning  some 


other  operation.  Just  what  should  be  done  first  and 
what  second,  and  so  on,  it  is  difficult  to  say,  but  it  is 
always  safe  to  complete  all  ripping  and  crosscutting 
in  getting  stock  to  the  roughing  dimensions  before 
any  hand  dressing  is  done.  It  is  likewise  well  to  have 
all  pieces  dressed  and  finished  to  the  dimensions  given 
on  the  drawing  before  any  joints  are  laid  out  and  cut. 

One  further  point  to  note  in  the  economy  of  labor 
is  to  keep  pieces  which  are  to  be  glued  together  to 
form  doors,  sides  of  cabinets,  etc.,  glued  up  and  clamped 
as  the  work  progresses  so  that  when  all  tool  work  is 
done  the  several  parts  of  the  piece  of  furniture  are 
glued  up  and  ready  for  the  final  assembling. 

A  word  about  scraping  and  sandpapering  may  not 
be  out  of  place  here.  The  best  suggestion  one  can 
give  in  this  connection  is  to  do  this  part  of  the  work 
thoroughly.  Whether  each  piece  should  be  scraped  and 
sandpapered  before  any  gluing  is  done  or  not  is  an 
open  question.  Much  time  may  often  be  saved  by 
postponing  most  of  this  work  until  the  piece  of  furni- 
ture is  assembled. 

The   Tenon-and-Mortise   Joint. 

The  "T-and-M"  joint,  as  the  tenon-and-mortise 
joint  is  briefly  designated,  is  the  principal  one  used  in 
furniture  construction.  The  one  ordinarily  used  is  the 
closed  T-and-M  joint,  or  the  one  in  which  the  tenon 
goes  only  part  way  into  the  mortised  piece.  Usually 


in  furniture  the  tenon  is  held  in  place  by  glue,  and 
if  the  joint  is  made  well  the  glue  will  be  sufficient 
to  keep  the  joint  tight  for  many  years.  It  is  true  that 
in  some  factory  furniture  these  joints  often  loosen  in 
a  short  time  but  it  is  due  to  careless  workmanship 
rather  than  to  the  kind  of  joint. 

Laying   Out  the  Tenon -and- Mortise   Joint. 

For  the  benefit  of  those  who  may  not  be  familiar 
with  the  process  of  laying  out  the  tenon-and-mortise 
joint  the  following  method  is  suggested.  After  all  the 
pieces  are  planed  to  the  proper  width  and  thickness 
and  the  face  sides  and  joint  edges  marked,  put  together 
in  vise,  with  joint  edges  up,  the  tenon  pieces  that  are 
to  be  cut  the  same  length.  From  the  center  of  one 
of  these  pieces  (preferably  the  one  nearest  the  work- 
man) measure  each  way  one-half  the  distance  between 
the  shoulders  of  tenons  (it  is  supposed  here  that  a 
tenon  is  to  be  cut  on  each  end)  and  make  a  point  with 
the  end  of  a  knife  blade.  With  a  try-square  or  car- 
penter's square  and  knife,  square  a  line  through  these 
points  across  the  joint  edges.  Now  take  the  pieces 
out  of  the  vise  and  square  around  each  end  from  the 
line  already  marked  on  joint  edge,  being  careful  to 
tave  the  beam  of  the  square  always  on  either  face 
side  or  joint  edge.  To  measure  thickness  of  tenon 
lay  rule  on  joint  edge  of  one  board  and  mark  points 


with  end  of  knife  blade  for  tenon  thickness.  Take 
the  marking  gage  and  set  its  stop  so  that  the  marker 
touches  one  of  these  points  when  the  stop  is  firmly 
pressed  against  the  face  side.  Before  resetting  gage, 
mark  all  pieces  for  this  width.  Now,  set  marking  gage 
for  the  other  point,  again  having  gage  stop  against 
face  side,  and  proceed  as  before.  If  the  workman  has 
access  to  a  power  saw,  all  the  work  of  cutting  the 
tenons  may  be  done  on  it,  but  it  is  believed  that  quite 
as  accurate  work  may  be  done  with  hand  saws.  Any 
trimming  may  be  done  with  chisel  and  plane  after 
sawing  has  been  completed. 

The  mortise  is  laid  cut  and  constructed  by  a  similar 
method  when  the  mortise  stock  is  thicker  than  the 
tenon  stock.  In  laying  out  mortises  for  "flush"  T-and- 
M  joints,  gaging  the  respective  sides  of  the  mortise 
should  be  done  simultaneously  with  the  gaging  of  cor- 
responding sides  of  tenons. 

A    Second     Method    of     Laying    Out    the    Tenon-and- 
Mortise    Joint. 

The  importance  of  the  tenon-and-mortise  joint  in 
furniture  construction  is  so  great  that  a  second  standard 
method  of  laying  it  out  and  cutting  it  is  here  suggested. 
Proceed  as  in  the  first  method  to  the  point  of  measur- 
ing from  the  center  of  stock  each  way  to  tenon  shoulder 
points.  Instead  of  taking  this  step  measure  each  way 


10 


one-half  the  full  length  of  stock  including  the  length 
of  tenons.  As  in  the  first  iriethod  square  across  all 
pieces  while  they  are  fastened  together  in  a  vise  or 
clamp. 

Each  piece  may  now  be  placed  against  a  double- 
end  crosscut  saw  guide  and  by  sawing  to  these  squared 
lines  and  in  the  waste  stock  all  pieces  will  be  sawed 
to  the  same  length.  Now  by  using  the  single-end  cross- 
cut guide  and  the  rip-guide  together,  and  by  having 
the  rip-guide  set  away  from  the  saw  the  length  of  the 
tenon  and  through  the  saw  table  the  thickness  of  the 
tenon  shoulder,  all  tenons  may  be  cut  without  laying 
out  the  tenon  shoulder  lines  as  in  the  first  method. 
With  a  good  saw  and  with  accurately  cut  stock  this 
method  rather  than  the  first  one  is  to  be  preferred. 

The  mortise  is  laid  out  and  cut  as  in  the  first 
method  except  that  in  "flush"  construction  as  well  as 
in  "off-set"  construction  mortise  thicknesses  will  be 
gaged  independent  of  the  tenons.  The  cabinet-makers' 
method  should  be  used,  however.  A  "mortise"  gage 
may  be  used,  also,  thus  saving  the  necessity  of  resetting 
a  regular  marking  gage  to  determine  the  position  of  the 
second  surface  of  mortises. 


The   Panel. 

In  most  cabinet  work,  to  avoid  winding,  warping, 
etc..  wide  spaces  are  filled  with  a  frame,  the  corners 
of  which  have  a  T-and-M  joint.  The  center  of  this 
frame  is  a  single  board  or  a  series  of  boards  sepa- 
rated one  from  the  other  by  boards  known  as  "stiles" 
and  "rails."  These  are  usually  flush  with  the  frame 
and  on  their  panel  edges  have  "rabbets"  or  grooves  for 
the  insertion  of  the  panel  edges.  Three  kinds  of  panels 
are  used:  (i)  the  panel  flush  with  its  frame  on 
both  sides,  (2)  the  panel  flush  with  its  frame  on 
one  side  and  inset  on  the  other,  (3)  the  panel  inset 
in  its  frame  on  both  sides.  The  first  is  used  where 
strength  alone  is  desired,  the  second  where  strength 
and  appearance  are  both  necessary.  In  this  case  the 
inset  comes  on  the  outside  of  the  piece  of  furniture. 
The  third  also  is  used  where  appearance,  as  well  as 
strength,  is  essential.  If  a  power  saw  is  used  for  cut- 
ting this  joint,  the  face  sides  and  joint  edges  should 
always  be  placed  against  the  saw  guides.  The  work 
of  gaging  may  be  omitted,  although,  for  the  beginner 
it  is  recommended. 


11 


FINISHES 


The  aim  in  finishing  wood  is  two-fold:  (i)  To 
preserve  the  wood:  (2)  to  produce  an  agreeable  sur- 
face, color  and  texture. 

The  old  method  of  filling  and  varnishing  a  piece 
of  furniture  is  still  practical,  but  since  the  advent  of 
the  so-called  craft  furniture  there  has  been  a  desire 
to  produce  an  even-toned  color,  and  staining  has  seemed 
to  be  the  most  practical  method  of  doing  this.  One 
can  purchase  on  the  market  innumerable  prepared 
stains  of  which  there  are  three  general  divisions,  viz. : 
water,  oil  and  spirit.  In  general  it  may  be  said  that 
while  a  spirit  stain  penetrates  the  wood  better  than 
either  of  the  first  two  mentioned  it  is  often  difficult 
to  apply.  Oil  stains  do  not  offer  this  objection  but 
are  sometimes  unsatisfactory  because  they  rub  off  easily. 
They  should,  therefore,  be  covered  with  some  preser- 
vative which  is  also  a  fixative.  Usually,  the  firm  manu- 
facturing a  stain  also  makes  a  finishing  material  to 
apply  after  the  stain  is  used.  If  this  is  not  the  case, 
a  very  thin  shellac  will  serve  both  to  preserve  the  stain 
and  to  fix  it.  Water  stains  should  also  be  covered  with 
some  gum  preparation,  but  in  no  case,  unless  a  high 
polish  is  desired,  should  this  material  be  thick.  It 
should  be  thin  enough  to  penetrate  the  wood  almost 
immediately  after  application. 


It  is  impossible  to  give  a  list  of  all  the  good  stains 
now  manufactured.  Probably  no  two  people  would 
select  the  same  ones  for  a  recommended  list.  Conse- 
quently the  names  of  the  firms,  familiar  to  the  author, 
manufacturing  stains  good  in  quality  both  as  to  tone 
of  color  and  durability  are  given  rather  than  a  list  of 
stains.  In  any  case,  whether  one  is  to  use  a  manu- 
factured stain  or  one  made  in  the  school  shop,  the 
greatest  care  must  be  taken  to  remove  all  glue,  and  to 
scrape  and  sandpaper  thoroughly  before  staining.  Also, 
to  experiment  with  the  particular  stain  to  be  used  on 
the  exact  kind  of  wood  which  was  put  into  the  project 
to  be  stained  before  the  final  work  of  staining  begins 
is  imperative  if  the  best  results  are  to  be  secured. 

Chicago    Wood    Finishing    Co.,    Chicago,    111. 

Chicago    Varnish    Co.,    Chicago,    111. 

The  Bridgeport  Wood  Finishing  Co.,  Bridgeport, 
Conn. 

Blood  &  Co.  St.  Paul,  Minn. 

The  Adams  &  Elting  Co.,  Chicago,  111. 

The  S.  C.  Johnson   Co.,   Racine,   Wis. 

The  Sherwin  Williams  Co.,  Cleveland,  Ohio. 

It  should  be  said  that  no  pretense  is  made  here  to 
list  all  firms  which  manufacture  stains  satisfactory  for 
manual  training  use. 


12 


The  great  objection  to  any  of  these  prepared  fin- 
ishes is  their  expense.  Below  are  given  several  meth- 
ods of  finishing  wood  which  some  experimental  and 
practical  experience  has  demonstrated  to  be  good.  In 
most  cases  they  are  comparatively  inexpensive.  Some 
of  these  are  old  but  some  are  probably  new.  In  giving 
them  let  it  be  understood  that  good  results  will  be 
obtained  only  when  the  directions  are  explicitly  fol- 
lowed ;  even  then  in  some  cases  it  may  not  be  possible 
to  get  results  that  are  uniform.  The  same  stain  on 
different  pieces  of  the  same  variety  of  wood  may  give 
slightly  different  effects. 

Oil   Finish. 

Perhaps  one  of  the  oldest  methods  of  finishing 
wood  and  one  used  today  for  some  work  is  to  fill  the 
grain  w;*h  two  or  thre~  coats  of  boiling-hot  linseed 
oil,  allowing  about  twenty-four  hours  to  elapse  between 
applying  the  coats.  The  oil  serves  as  a  preservative 
and  at  the  same  time,  when  rubbed  often,  it  will  give 
a  dull  finish.  The  surface  oil  evaporates  soon,  how- 
ever, so  that  one  cannot  rely  upon  oil  alone  to  keep  a 
polish.  This  method  of  finishing  wood  is  especially 
good  for  porch  and  yard  furniture.  Care  should  be 
taken  not  to  put  on  enough  oil  at  one  time  to  allow 
a  film  to  form  on  the  surface  of  the  wood  when  the 
oil  dries. 


Wax    Finish. 

The  old  method  of  finishing  furniture  by  rubbing 
it  with  beeswax  is  still  followed.  During  recent  years 
it  has  become  very  popular.  Prepared  wax  is  fairly 
satisfactory  but  a  wax  may  be  made  by  cutting  up 
beeswax  and  mixing  it  with  about  one-third  its  bulk 
of  turpentine  and  heating  the  two  together  to  the  boiling 
point.  This  should  be  done  in  a  double  boiler,  The 
preparation  may  be  allowed  to  cool,  after  which  it 
should  be  rubbed  on  and  then  off  with  considerable 
pressure.  A  more  satisfactory  method  is  to  apply  the 
wax  hot  and  rub  with  a  soft  cloth  as  it  cools.  To 
produce  a  fine  lasting  polish  three  or  four  coats  should 
be  applied,  allowing  from  one  to  four  weeks  between 
applications.  A  soft  cloth  should  be  used  in  dusting 
a  piece  of  furniture  finished  by  this  process.  Better 
results  may  be  obtained  by  allowing  each  coat  of  wax 
to  harden  during  several  hours  before  rubbing  it. 

Fuming. 

A  darkened  color  may  be  produced  artificially  on 
wood  by  placing  it  in  a  tight  box  and  then  setting  in 
the  box  an  open  dish  of  concentrated  ammonia.  The 
woods  most  affected  by  the  ammonia  fumes  are  oak, 
principally  quartered  oak,  and  chestnut.  The  depth  of 
color  increases  with  the  time  of  exposure.  A  prepa- 
ration known  as  "Fumine,"  manufactured  by  Walter 


13 


K.  Schmidt  £  Co.,  of  Grand  Rapids,  Mich.,  will  deepen 
the  color  if  applied  on  the  wood  before  it  is  placed  in 
the  fuming  box.  Tannic  acid  may  be  used  in  place  of 
Fumine  by  dissolving  the  flakes  in  alcohol  and  applying 
the  liquid  with  a  brush.  Fumed  work  should  be  finished 
by  the  wax  finish  process.  The  fuming  should  be  done 
after  the  piece  is  sandpapered  ready  for  finishing. 

Filling  and   Varnishing. 

For  many  years  one  of  the  most  popular  methods 
of  finishing  furniture  was  that  of  filling  the  grain  of 
the  wood  with  some  paste,  which  might  be  colored  to 
suit  the  taste,  and  which  would  harden,  and  then  cover- 
ing the  entire  piece  with  some  fixative  preparation  such 
as  varnish  or  shellac.  There  is  probably  no  method  of 
finishing  furniture  today  that  preserves  the  wood  better 
than  this  one.  After  the  article  to  be  finished  has  been 
thoroughly  scraped  and  sandpapered  apply  some  good 
paste  filler,  thinned  to  the  consistency  of  thick  cream, 
with  boiled  linseed  oil  and  turpentine.  Put  it  on  with 
a  brush  or  piece  of  cloth  and  allow  it  to  stand  about 
five  minutes  until  it  begins  to  dry.  When  this  drying 
begins,  rub  the  filler  off  with  a  piece  of  burlap  or  a 
handful  of  shavings.  Rub  across  the  grain.  After  ten 
or  twelve  hours  apply  a  coat  of  hard  oil  or  varnish 
with  a  soft  brush  and  let  this  thoroughly  harden.  The 
time  required  for  hardening  depends  upon  two  condi- 
tions :  the  character  of  the  varnish  and  the  temperature 


of  the  atmosphere.  Usually  not  less  than  twenty-four 
hours  should  elapse  between  applications  of  the  finishing 
material  in  a  room  kept  free  from  dust  and  having  a 
temperature  of  at  least  72°  F.  Varnish  should  be  ap- 
plied with  a  high  grade  soft  bristle  or  camel's-hair 
brush.  The  brush  should  be  passed  over  the  surface 
of  stock  by  long  uniform  strokes  and  it  should  be  kept 
well  filled.  When  hard,  rub  the  varnish  down  with 
fine  sandpaper  to  smooth  the  surface.  Repeat  the  var- 
nishing and  sandpapering  process  three  or  four  times 
until  a  perfect  surface  is  produced ;  then  apply  another 
coat  of  varnish  thinned  more  than  the  former  ones 
and,  when  hard,  rub  down  with  pumice  stone  and  rub- 
bing oil.  To  give  life  to  the  finish  continue  rubbing 
with  rotten  stone  and  water,  applied  with  a  piece  of 
burlap  drawn  over  a  piece  of  sheet  cork,  or  with  a 
piece  of  harness-maker's  felt.  A  coat  of  wax  put  on 
after  the  rotten  stone  is  used  will  add  to  the  appearance 
of  the  finish. 

Staining,  Filling  and  Varnishing. 

The  filling  and  varnishing  method  of  finishing  fur- 
niture produces  a  striking  grain  with  open-grained 
woods.  If  it  is  desired  to  fill  the  grain  to  produce  a 
smooth  surface  and  yet  not  show  a  strong  grain,  the 
wood  should  be  stained  before  the  filler  is  applied.  A 
stain  of  almost  any  desired  color  may  be  obtained  by 
mixing  dry  colors  ground  in  oil  with  boiled  linseed 


14 


oil  to  make  a  paste  and  then  thinning  with  turpentine. 
Stains  made  in  this  way  are  likely  to  cloud  and  obscure 
the  grain  of  the  wood.  They  should  be  applied  in  thin 
coats,  two  or  three  being  used  in  preference  to  one 
heavy  coat.  The  colors  recommended  are :  Drop 
Elack,  Lamp  Black,  Burned  Umber,  Raw  Umber,  Van- 
dyke Brown,  Yellow  Ochre,  Prussian  Blue,  Paris  Green 
and  Venetian  Red. 

A  stained,  filled  and  varnished  piece  of  furniture 
should  be  prepared  as  follows : 

Order  of  procedure :  Scrape.  Sandpaper.  Dust. 
Wet  down  with  water.  Let  dry.  Sandpaper.  Dust. 
Stain.  Let  dry.  Wipe  with  soft  cloth.  Fill.  Let 
dry.  Wipe  with  soft  cloth.  Varnish  as  described 
under,  "Filling  and  Varnishing." 

Analine    Dye   Stains. 

The  analine  dyes,  dissolved  in  alcohol,  usually  make 
satisfactory  stains,  also.  Some  of  them,  however,  will 
fade  in  time.  Seal  Brown  has  proven  the  most  satis- 
factory in  the  author's  experience.  After  the  piece  of 
furniture  has  been  thoroughly  scraped  and  sandpapered 
is  should  be  covered  with  water  to  raise  the  grain  in 
order  that  the  stain  will  not  do  this  when  it  is  put  on. 
After  the  wood  drys  rub  down  with  sandpaper  and 
apply  stain  with  cloth.  When  the  stain  is  dry  the  piece 
may  be  filled  and  varnished  as  described  under  the  head 
of  "Filling  and  Varnishing."  To  this  may  be  added 
a  coat  of  wax,  or  the  wax  finish  may  be  used  alone. 


Log  Wood  Stain. 

A  rich  purplish  black  will  be  produced  on  oak  or 
chestnut  by  covering  the  wood  with  a  solution  of  log- 
wood prepared  as  follows :  Boil  logwood  gum,  as  it 
is  sold  by  druggists,  in  water  until  a  deep  black  liquid 
is  obtained.  About  four  or  five  pieces  of  the  gum  as 
large  as  a  walnut,  boiled  in  a  gallon  of  water,  will  give 
about  the  right  color.  While  the  mixture  is  still  boiling 
hot  add  about  half  a  tumbler  of  washing  soda  and 
stir  until  it  is  dissolved.  When  the  solution  is  cold 
apply  with  cloth  until  desired  color  is  obtained.  Finish 
with  wax,  shellac  or  varnish. 

Japalac. 

A  very  desirable  black  may  be  obtained  on  almost 
any  wood  by  thinning  Dead  Black  Japalac  with  turpen- 
tine and  applying  as  a  stain,  rubbing  off  rapidly  as 
it  is  applied.  This  stain  does  not  need  to  be  covered 
with  a  preservative.  Other  colors  of  Japalac  may  be 
prepared  for  stains  of  corresponding  color. 

Old    Dutch   Stain. 

This  is  not  the  prepared  finish  sold  under  the  same 
name  but  a  home-made  mixture  which  gives  to  oak 
the  appearance  of  great  age  similar  to  the  old 
pieces  of  furniture  of  German  make  so  much  admired. 
Mix  two  parts  of  drop  black  to  one  of  lamp  black  with 


15 


turpentine  until  a  liquid  that  will  just  flow  is  obtained. 
Add  to  this  enough  burnt  umber  to  kill  the  "dirty" 
black.  A  very  little  of  the  umber  will  do  this.  Apply 
to  oak  or  chestnut  after  wood  has  been  wet  with  water 
and  rubbed  down  with  sandpaper.  Rub  the  stain  in  and 
off  evenly.  When  dry,  cover  with  a  very  thin  coat  of 
shellac  to  fix  stain,  and  finish  with  wax. 

Bichromate  of   Potash   Stain. 

This  method  of  finishing  wood  is  spoken  of  a  num- 
ber of  times  in  this  book  because  it  has  been  success- 
fully handled  by  the  author  and  is  an  easy  stain  to 
apply.  It  gives  a  brick-brown  color  and  when  rubbed 
with  an  oiled  cloth  will  keep  a  dull  lustre  for  a  long 
time.  Make  a  concentrated  solution  of  powdered  bi- 
chromate of  potash  using  hot  water.  Soft  water  is 
preferred.  Prepare  wood  (oak  and  chestnut  take  this 
stain  better  than  most  other  woods)  as  before  described 
and  apply  stain  with  cloth.  Let  the  stained  piece 
stand  over  night.  The  yellowish-brown  crystalline  sur- 
face which  will  be  found  in  the  morning  will  turn  to 
a  brick-brown  color  when  rubbed  with  linseed  oil.  No 
finish  is  necessary  over  this  stain. 

Asphaltum  Varnish    Stain. 

A  rich  chocolate  brown  may  be  produced  on  almost 
any  open-grained  or  light-colored  wood  by  thinning 
asphaltum  varnish  with  turpentine  and  applying  with 


a  cloth,  rubbing  rapidly  to  avoid  sticking.  If  the  asphal- 
tum varnish  is  made  very  thin  it  may  be  applied  with 
a  brush  and  allowed  to  harden  as  any  varnish  will. 
Unless  the  varnish  is  put  on  rather  thick  a  covering 
coat  of  shellac  or  finishing  varnish  should  be  added. 

Acetate   of    Iron   Stain. 

A  stain  that  is  easily  made  and  applied  with  very 
good  results  on  butternut  and  chestnut  is  one  which 
may  be  made  by  soaking  iron  filings  in  vinegar.  The 
filings  or  chips  should  be  from  cast  iron.  Soak  them 
in  vinegar,  stirring  occasionally,  for  a  week.  Apply 
in  the  same  manner  as  other  stains.  Butternut  stained 
with  the  acetate  of  iron  and  rubbed  with  an  oiled  cloth 
will  turn  very  dark — almost  black.  Chestnut  will  be 
made  a  soft  yellowish  brown.  A  wax  covering  will 
give  life  and  durability  to  this  stain.  Chestnut,  finished 
with  this  stain  and  afterward  fumed,  will  turn  a  deeper 
brown  with  the  characteristic  velvet  appearance  that 
fuming  always  gives. 

Iron  Sulphate  Stain. 

To  give  a  grey  stain  to  oak,  boil  it  in  a  solution 
of  iron  sulphate  made  by  dissolving  one  ounce  of  chemi- 
cally pure  sulphate  of  iron  crystals  for  each  pound  of 
wood  in  enough  water  to  entirely  cover  the  wood.  Sepa- 
rate the  strips  of  wood  with  pieces  of  glass  and  weight 
the  wood  down  to  insure  its  being  kept  under  water. 


16 


About  one  dram  of  sulphuric  acid  should  be  added  to 
every  gallon  of  the  solution  to  keep  the  iron  in  the 
form  of  a  sulphate.  When  dry  rub  thoroughly  with 
a  dry  cloth. 

Silver   Nitrate   Stain. 

A  weak  solution  of  silver  nitrate  on  chestnut  which 
is  afterwards  fumed  with  ammonia  will  give  a  dark 
brown.  Wax  makes  a  good  finish  for  this  stain. 

Dry  Color  Stains. 

After  experimenting  for  a  number  of  years  with 
wood  finishes  in  manual  training  woodworking  classes, 
the  author  has  come  to  the  conclusion  that,  aside  from 
the  few  finishes  herein  described  and  some  of  the  stains 
to  be  found  on  the  market,  one  can  get  about  as  satis- 
factory results,  as  in  any  other  way,  by  mixing  the  dry 
colors  (obtainable  at  painter's  supply  houses)  with 
boiled  linseed  oil  and  turpentine.  A  little  experimenting 
will  determine  the  colors  and  the  quantity  of  each,  to 
mix  together  to  produce  a  desired  shade.  Those  which 
will  be  most  used  are  listed  under,  "Staining,  Filling 
and  Varnishing."  After  the  mixture  of  dry  colors  is 
made,  add  enough  boiled  linseed  oil  to  make  a  paste 
and  thin  this  with  turpentine.  Apply  stain  with  cloth 
and  finish  with  varnish  or  shellac.  Rub  the  fixative 


preparation  down  as  described  under,  "Filling  and  Var- 
nishing." 

Other  stains  and  finishes  might  be  suggested  here, 
but  it  is  the  purpose  of  this  chapter  to  make  mention  of 
those  only  which  are  known  to  be  among  the  best.  The 
reader  is  referred  to  the  following  articles  and  books 
for  further  material  on  this  subject.  In  giving  this 
direction  it  may  be  well  to  offer  the  following  injunc- 
tion : 

To  procure  the  most  satisfactory  results  in  the 
staining  and  finishing  of  woods,  one  must  become  a 
patient  experimenter.  No  stain  or  finish  should  'be 
used,  no  matter  how  highly  recommended  or  with  what 
success  previously  used,  until  it  is  tried  upon  samples 
of  the  same  wood  upon  which  it  is  proposed  to  place 
it.  These  should  be  selected  and  prepared  for  the  stain 
with  as  much  care  as  would  be  used  in  the  process  of 
finishing  any  piece  of  furniture. 

References  on  Wood  Finishes. 

Chapter  on  Finishes  in  Noyes'  "Handwork  in 
Wood." 

Article  by  C.  S.  Van  Deusen,  Manual  Training 
Magazine,  No.  2,  Vol.  VI. 

Handbook  published  by  Berry  Bros,  the  varnish 
makers. 

Handbook  published  by  S.  C.  Johnson  Co.,  Racine, 
Wis. 


NOTES    ON    PROBLEMS 

1 — Taboret 

A  seventh  or  eighth  grade  problem.  This  is  a  very  simple  yet  attractive 
piece  of  furniture,  and  may  be  made  by  any  boy  who  has  had  a  little  ex- 
perience with  tools.  The  design  may  be  varied  without  injury  by  widening 
the  legs  somewhat  and  using  thinner  lumber  for  them.  The  author  believes 
that  round-headed  blued  screws  will  make  it  a  stronger  piece  of  furniture 
than  will  wooden  pins.  In  order  to  guard  against  splintering  where  the  recesses 
are  cut  for  the  legs  a  hard  wood  or  a  close-grained  soft  wood  should  be  used. 
If  made  of  hard  wood,  maple  will  prove  to  be  a  good  one,  although  oak  may 
be  used.  If  oak  is  used  fume  and  finish  with  wax.  If  butternut  is  used  and 
a  dark  finish  is  wanted,  use  the  acetate  of  iron. 


2 — Taboret. 

A  seventh  or  eighth  grade  problem.  This  is  the  simplest  form  of  taboret 
involving  the  tenon-and-mortise  joint.  It  is  appropriate  'from  the  standpoint 
of  utility,  and  when  well  proportioned  is  good  in  design.  To  secure  the 
necessary  element  of  strength,  the  rails  should  be  made  but  very  little,  if 
any,  less  than  four  inches  in  width.  This  piece  may  be  made  of  almost  any 
wood.  Carefully  selected  pine  stained  brown  will  make  a  serviceable  and 
beautiful  taboret  in  this  design.  Chestnut  may  be  used  with  good  results 
Oak,  fumed  or  stained  and  fixed  with  some  preservative  such  as  thin  shellac 
or  underlac  and  then  waxed,  will  give  the  best  appearance. 


18 


3 — Shoe   Polishing   Box 

An  eighth  grade  problem  preferably,  although  it  may  be  made  well  by 
some  seventh  grade  pupils.  The  rail  should  be  kept  as  wide  as  shown  in 
the  working  drawing  of  this  project  to  secure  strength.  The  construction 
involves  the  use  of  the  bevel-square  and  some,  although  not  difficult,  angle 
construction,  unless  the  corner  boards  are  fastened  together  by  some  joint 
other  than  the  butt  as  shown.  One  half  of  the  top  should  be  fastened  with 
nails  or  screws  from  the  top  to  the  rails.  The  other  half  should  have  a 
foot-form  modeled  from  wood,  or  one  which  may  be  secured  at  a  hardware 
store,  fastened  on  the  under  side.  Hard  or  soft  pine  finished  dark  will  be  an 
appropriate  material.  A  "Dry  Color  Stain"  is  recommended.  One  coat  of 
varnish  or  shellac  rubbed  down  and  then  waxed  will  give  a  suitable  finish  for 
this  utility  piece. 


4 — Taboret 

An  eighth  grade  or  high  school  problem.  This  piece  will  prove  attractive 
in  a  living  room  or  on  a  porch.  It  is  designed  to  acquaint  the  maker  with 
the  problem  of  laying  out  and  cutting  tenon-and-mortise  joints  by  the  cabinet 
maker's  method.  If  it  is  undertaken  by  a  high  school  pupil  the  joints  may 
well  be  cut  on  machines.  The  placing  of  the  rails  offers  a  good  problem  in 
breaking  up  an  area  into  well  related  parts.  Some  open-grained  wood  or  one 
having  distinguishing  marks  such  as  cypress  will  be  most  in  keeping  with  the 
design.  If  the  piece  is  to  be  used  on  a  porch  it  should  receive  the  oil  or 
asphaltum  varnish  finish. 


19 


5 — Bench   Stool 

An  eighth  grade  or  high  school  problem.  This  project  introduces  angle 
tenon-and-mortise  and  angle  housing  construction.  It  should  be  made  of  some 
wood  which  will  not  break  or  splinter  easily.  An  open-grained  soft  wood  such 
as  chestnut  will  not  prove  satisfactory.  Either  poplar,  maple  or  birch,  if  oak 
is  not  preferred,  will  make  a  strong  piece  of  furniture  in  this  design.  Finish 
any  one  of  these  woods  with  bichromate  of  potash  and  rub  down  with  oil. 
A  coat  of  wax  may  be  added  after  the  oil  has  evaporated. 


6— Pedestal 

A  high  school  problem.  This  project  is  not  particularly  difficult  in  con- 
struction. The  rails  may  be  tenoned  or  halved  into  the  legs.  The  joints  are 
square  cut  and  may  be  made  without  difficulty,  therefore,  either  by  hand  or 
on  machines.  This  piece  will  be  attractive  either  in  a  library  or  club  room, 
and  may  be  used  for  a  large  plant,  a  piece  of  statuary  or  as  a  stand  for  a 
smoking  set.  Its  companion  pieces  will  call  for  chestnut,  ash  or  oak  in  its 
construction.  A  brown  or  green  stain  finish,  covered  with  some  preservative 
to  give  a  dead  finish,  is  suggested. 


20 


7— Plant    Stand 

An  eighth  grade  or  high  school  problem.  This  may  be  made  of  pine, 
poplar,  or,  if  open-grained  wood  is  desired,  chestnut  or  oak.  The  piece  is 
suitable  for  porch  or  inside  of  house.  The  decoration  on  middle  slat  is 
suggestive  only.  Simple  veining  or  relief  carving  may  be  used,  or  the  more 
difficult  problem  of  inlaying  may  be  introduced. 


8 — Taboret 

A  high  school  problem.  This  is  a  difficult  piece  to  construct  and  should 
be  undertaken  only  by  one  who  is  somewhat  experienced  in  woodworking. 
It  should  be  laid  out  with  the  greatest  care  and  constructed  so  that  all  joints 
will  fit  very  closely.  Pine,  poplar  or  gum  is  recommended.  Some  light 
stain  covered  with  a  dead  varnish  finish  will  be  attractive.  A  natural  finish 
in  oil,  wax  or  some  prepared  quick-drying  varnish  will  require  less  effort 
and  skill. 


U 


21 


Ijgg^l^^gggr 


9 — Tabaret 

An  eighth  grade  problem.  Pine  with  a  strong  grain,  if  finished  with 
asphaltum  varnish  thinned  with  turpentine  and  rubbed  on  the  wood  while  fresh, 
will  make  this  an  attractive  and  serviceable  piece  of  porch  furniture.  It  is 
also  suitable  for  inside  use.  A  dark  green  stain  on  poplar  will  make  of  this 
a  beautiful  library  or  study  jardiniere  stand.  A  dead  varnish  known  as 
"Deadlac"  is  very  appropriate  over  the  dark  green  color. 


10 — Woven   Top  Stool 

An  eighth  grade  problem.  This  may  be  used  as  a  low  seat  or  a  foot 
stool.  Make  stool  of  some  close-grained  soft  wood  or  of  oak.  In  the  con- 
struction, cut  the  tenon-and-mortise  joints  before  tapering  the  legs.  Wind  flat 
pith  cane  over  and  around  opposite  rails.  When  finishing,  stain  the  entire 
piece  with  some  good  prepared  stain  such  as  Ad-el-ite,  a  preparation  that 
does  not  need  a  covering  of  varnish.  If  oak  is  used  a  soft  greyish-brown 
tone  may  be  obtained  by  fuming  the  entire  stool. 


11 — Woven   Top   Stool 

An  eighth  grade  problem.  Pine  or  chestnut  will  be  suitable  if  this  project 
is  undertaken  by  grade  pupils.  Oak  may  be  used  by  high  school  pupils  or 
those  capable  of  working  in  hard  wood.  The  problem  of  framing  is  a  good 
one  here  and  the  weaving  of  the  flat  pith  cane  offers  a  chance  to  use  some 
originality  in  the  pattern  design.  Care  must  be  taken  not  to  get  the  material 
used  for  the  weaving  too  tight  at  first  or  the  last  strands  will  be  very  difficult 
to  weave  through.  A  long  needle  made  of  thin  band  iron  is  suitable  for  the 
weaving.  The  edges  of  the  frame  should  be  rounded  slightly  to  prevent  the 
cane  from  breaking. 


22 


12 — Leather  Top  Stool 

An  eighth  grade  problem  in  ordinary  framing  and  upholstering.  For  the 
eighth  grade  pupil  chestnut  makes  a  very  satisfactory  substitute  for  oak  and 
is  much  more  easily  worked  than  oak.  A  rich  dull  brown  will  be  obtained 
by  finishing  with  a  turpentine  preparation  of  raw  umber,  first  made  into  a 
thin  paste  with  boiled  linseed  oil.  After  this  is  well  rubbed  into  the  wood 
apply  a  coat  of  very  thin  shellac.  This  need  not  be  rubbed  down  if  it  is 
sufficiently  thin.  Its  purpose  is  to  "fix"  or  "set"  the  stain.  It  is  not  used 
in  this  case  as  a  finish.  Wax  should  be  used  for  this  purpose. 


13— Foot   Stool 

An  eighth  grade  problem.  This  is  a  simple  problem  in  tenon-and-mortise 
framing.  Oak  or  hard  pine  is  recommended  as  a  good  wood  for  this  project. 
If  chestnut  is  used  the  front  corner  posts  should  not  be  severely  modeled. 
The  upholstering  may  be  done  with  leather  or  its  substitute,  pantasote.  This 
and  other  leather  substitutes  may  be  obtained  in  almost  any  color,  particularly 
in  the  browns  and  greens.  The  first  cost  of  these  is  less  than  that  of  leather 
but  for  quality  and  "durability  the  latter  material  is  unquestionably  the  best. 


14 — Leather  Top  Stool 

An  eighth  grade  problem.  Model  top  out  of  a  two-inch  pine  plank  after 
gluing  two  pieces  together  edgewise.  The  amount  to  be  scooped  out  is  given 
in  drawing  as  one-half  an  inch ;  it  may  well  be  a  little  more  than  this.  The 
legs  and  rails  should  be  made  of  some  wood  that  will  not  easily  splinter  in 
modeling  the  sharp  corners  at  the  bottom  of  the  legs.  Butternut  or  gum 
of  the  soft  woods  will  be  satisfactory  and  oak  will  probably  be  the  most  suita- 
ble of  the  hard  woods.  Turned  legs  make  an  attractive  piece. 


-lifer 


23 


15— Hall   Umbrella    Rack 

An  eighth  grade  problem.  Chestnut  has  been  used  with  considerable 
satisfaction  and  success  in  the  construction  of  this  project.  As  indicated  in 
the  article  by  the  author  in  the  Manual  Training  Magazine  for  April,  1906, 
there  is  a  chance  for  study  in  filling  in  the  sides  to  make  a  good  panel  scheme. 
It  is  believed  that  the  horizontal  strips  alone  may  be  used  with  much  satis- 
faction if  those  near  the  bottom  are  placed  farther  apart  than  those  near  the 
top,  and  not  more  than  four  are  used  on  a  side.  An  ordinary  shallow  sheet- 
iron  pan  colored  by  covering  with  lard  oil  and  heating  repeatedly  in  the  fire 
will  make  a  good  bottom.  A  better  pan,  and  one  which  will  be  more  appro- 
priate in  color  to  harmonize  with  the  brown  stains,  will  be  made  of  copper. 
This  is  a  good  piece  for  fuming. 


16— Hat   and    Umbrella    Rack 

Preferably  a  high  school  problem,  although  eighth  grade  boys  of  unusual 
ability  may  work  it  out.  If  made  of  soft  pine  the  corner  posts  may  be  cut 
from  2x4  in.  stock  and  the  center  posts  made  from  two  2x4  in.  pieces  with 
flat  sides  glued  together.  Soft  pine  with  a  good  grain  finished  with  a  dark 
stain  will  make  this  a  very  appropriate  hall  piece.  In  gluing  up,  the  diagonal 
cross  pieces  should  be  glued  into  the  center  post  before  the  frame  work  is  glued 
together ;  then  as  the  last  gluing  on  the  framework  is  done,  the  center  post 
with  these  projecting  pieces,  will  be  set  inside  and  the  ends  slipped  into  the 
grooves  (where  the  corners  of  posts  have  been  sawed  out  to  receive  them) 
and  bradded. 


17 — Library  Book  Shelves 

An  eighth  grade  or  high  school  problem  in  gluing  and  pinning.  In  gluing 
pieces  together  for  shelves  and  sides  dowel  pins  should  be  used,  especially  for 
the  sides.  Care  must  be  taken  when  binding  pins  are  fitted  to  have  the  inside 
of  hole  for  pin  cut  away  enough  to  allow  the  inside  edge  of  pin  to  draw 
against  the  upright  piece.  This  will  make  the  shelves  firm  and  substantial. 
Finish  by  filling  wood- — chestnut  or  oak — and  rubbing  down  two  coats  of  var- 
nish. Hard  pine  stained  will  also  make  an  appropriate  piece. 


18— Vestibule  Umbrella   Rack 

A  high  school  problem.  Make  of  oak  and  finish  dark.  As  this  is  an 
outside  piece  it  may  well  be  finished  by  applying  two  or  three  coats  of  hot 
boiled  linseed  oil.  The  use  of  shellac  or  varnish  will  not  be  very  practical. 
The  corner  boards  are  not  necessary  for  strength.  Inasmuch  as  they  are 
decorative  only,  some  other  plan  of  space  decoration  may  be  used.  A  com- 
bination of  horizontal  and  vertical  strips  5s  suggested,  as  in  the  hall  umbrella 
rack. 


25 


19— Cabinet  Stool 

A  high  school  problem  which  introduces  simple  cabinet  construction, 
including  the  fitting  and  hanging  of  a  single  board  door.  Doors  may  be  made 
for  both  sides,  or  one  side  may  be  made  solid,  in  which  case  the  board  which 
forms  the  back  should  be  grooved  into  the  legs.  This  construction  should 
also  be  used  in  fastening  the  end  boards.  This  project  serves  to  correlate 
metalwork  with  woodwork  and  offers  an  opportunity  for  the  design  and  con- 
struction of  copper,  brass  or  iron  hinges  and  pulls.  Make  of  quartered  oak 
and  fume  if  either  of  the  first  two  metals  are  used  for  fittings.  In  case  iron 
is  used  for  the  metal  parts,  finish  with  the  "Old  Dutch  Finish"  or  some  dark 
stain. 


20 — Umbrella    Rack 

A  high  school  problem  introducing  paneling.  The  panels  may  be  omitted 
in  which  case  the  project  should  be  possible  in  the  eighth  grade.  The  tenon- 
and-mortise  joint  is  recommended  although  the  ends  of  rails  may  be  halved 
into  the  corner  boards.  Metal  straps  fitted  around  the  corners  in  line  with 
the  rails  will  form  an  appropriate  decoration  and  will  serve,  also,  as  con- 
structive elements.  Make  of  chestnut  or  oak  and  fume,  or  finish  with  as- 
phaltum  varnish.  Avoid  the  use  of  a  finish  which  is  susceptible  to  moisture. 


26 


21 — Magazine  Holder 

An  eighth  grade  or  high  school  problem.  Fair  problems  in  gluing  (for 
shelf  width)  screwing,  tenon-and-mortise  construction  and  modeling  are  pre- 
sented in  this  project.  The  open  mortises  at  the  top  should  be  cut  from  both 
sides  of  the  rail  to  insure  a  good  joint.  Some  close-grained  or  hard  wood 
should  be  used  for  this  piece  to  make  of  it  a  strong  piece  of  furniture. 


22 — Magazine   Holder 

An  eighth  grade  or  high  school  problem.  Butternut  finished  with  acetate 
of  iron  made  by  soaking  iron  filings  in  vinegar  will  make  of  this  a  pleasing 
piece  of  furniture.  A  variety  of  designs  is  possible  in  this  project  but  the  one 
given  has  proven  a  popular  one  in  the  author's  classes.  If  the  corner  boards 
are  given  a  straight  taper  instead  of  a  compound  curve  as  shown,  good  results 
will  be  obtained.  In  this  case  the  rails  at  the  top  and  bottom  may  very  ap- 
propriately be  changed  to  straight-line  modeling. 


27 


23— Wall    B,ook-Shelf  and    Magazine   Rack 

A  high  school  problem.  The  design  may  be  modified  and  possibly  im- 
proved by  allowing  the  boards  at  the  end  of  the  back  to  taper  toward  the 
bottom  on  the  outside,  making  the  width  about  three  and  a  half  inches.  The 
most  difficult  work  comes  in  making  the  back  which  is  an  ordinary  problem 
in  panel  framing.  A  dilute  logwood  stain  on  chestnut  or  oak  will  give  a  dark 
finish. 


24 — Plate    Rack 

An  eighth  grade  or  high  school  problem.  This  is  a  modification  of  the 
ordinary  style  of  plate  rack.  It  harmonizes  in  its  design  with  the  present- 
day  severe  style  of  dining  room  furniture.  Make  of  oak  or  chestnut  and 
finish  with  the  bichromate  of  potash  stain. 


25 — Plate   and   Tumbler   Rack 

An  eighth  grade  or  high  school  problem  of  severe  design  but  appropriate 
in  a  dining  room  furnished  with  so-called  "craft  furniture."  A  variation  of 
the  design  may  be  made  by  paneling  the  lower  opening.  The  piece  should 
be  finished  dark  to  give  the  best  general  effect.  If  hard  pine  or  oak  is  used 
some  prepared  dark  stain  will  give  a  good  finish.  A  very  pleasing  rich  yel- 
low brown  is  obtained  on  oak  by  using  the  bichromate  of  potash  stain.  If  a 
deeper  brown  is  wanted,  rub  the  bichromate  stain  with  boiled  oil  and  burnt 
umber;  apply  wax  or  a  thin  coat  of  shellac. 


28 


26 — Chafing- Dish  or  Tea  Table 

A  high  school  problem.  Make  of  oak,  preferably,  and  finish  in  brown. 
The  doors  may  be  made  solid  if  well  seasoned  wood  is  used.  The  table  will 
be  quite  as  satisfactory  in  appearance  if  the  shelf  is  omitted.  The  doors 
when  let  down  into  the  horizontal  position,  serve  as  shelves  for  dishes.  The 
ends  of  cross-bar  supports  for  shelf  are  recessed  into  inside  corner  of  legs  and 
put  into  position  as  table  is  glued  up. 


27 — Three- Panel  Screen 

Poplar  or  oak  will  be  suitable  for  this  piece.  In  the  construction  of  this 
project  different  members  of  the  same  class  may  be  put  to  work  on  the  three 
different  panels.  If  burlap  or  leather  is  used  for  the  upper  panels  it  may  be 
fastened  on  a  pine  frame  to  set  in  flush  with  rails  and  stiles,  or  the  material 
may  be  fastened  on  the  outside  with  large-headed  tacks.  An  opportunity  is 
here  given  for  some  originality  in  design  as  these  upper  panels  may  be  made 
of  embossed  or  tooled  leather,  or  stenciled  burlap.  If  the  wood  is  oak,  some 
brow«  or  dark  green  finish  will  be  good. 


28 — Sewing  Screen 

An  eighth  grade  or  high  school  problem.  This  simple  two-fold  screen 
permits  of  many  modifications  in  general  design.  It  is  not  a  difficult  problem 
in  framing.  Similar  material  tacked  on  to  either  or  both  sides  of  the  frame 
may  be  substituted  for  the  burlap  panel.  It  may  be  made  of  almost  any  wood 
which  should  be  stained,  or  stained  and  filled,  and  then  covered  with  some 
preservative  or  waxed. 


29— Wall  Cabinet 

A  high  school  problem  in  simple  cabinet  construction.  Great  care  should 
be  taken  to  lay  out  and  cut  tenon-and-mortise  joints  to  make  them  fit  very 
tight — almost  a  driving  fit.  The  cabinet  offers  a  good  problem  in  the  design 
and  construction  of  hardware.  Chestnut  or  oak  in  the  open-grained  woods 
or  poplar,  birch  or  walnut  in  the  close-grained  woods  is  suggested  as  suit- 
able material.  Any  one  of  the  latter  named  woods  may  be  finished  in  the 
natural,  or  stained  and  then  finished  with  a  low-toned  varnish.  The  first 
named  woods  should  be  stained,  filled,  and  then  varnished  or  fixed  and  waxed. 


30 


30— Wall  Cabinet 

An  eighth  grade  or  high  school  problem,  and  an  attractive  library,  study 
or  dining  room  hanging  piece.  The  colored  glass  for  doors  is  in  one  piece 
for  each  door  with  copper  strips  (preferably  burnished)  set  in  to  form  part 
of  the  decoration,  rather  than  an  essential  feature  in  the  construction.  The 
project  may  be  simplified  by  making  the  back  solid,  using  narrow  matched 
lumber,  or  by  gluing  pieces  together  instead  of  paneling  as  suggested  in 
working  drawing.  Finish  dark  to  contrast  with  color  in  glass  and  with  the 
bright  copper  strips. 


31 — Sewing  Cabinet 

A  high  school  problem  in  quartered  oak.  Plain  oak  or  chestnut  will  be 
somewhat  less  attractive  in  appearance.  The  front  and  back  panels  are  fas- 
tened in  by  first  boring  a  five-eighths  hole  part  way  through  from  the  inside 
(as  shown  by  dotted  circles  in  working  drawing)  and  then  driving  one-inch 
screws  from  these  holes  into  corner  posts.  This  makes  a  very  practical  prob- 
lem in  paneling  and  general  cabinet-making.  Finish  by  filling  and  varnish- 
ing if  a  strong  grain  is  desired ;  otherwise  stain,  or  stain  and  fill,  and  apply 
wax  or  varnish. 


31 


32— Music  Cabinet 

A  high  school  problem  in  cabinet-making.  Make  this  piece  of  butternut, 
black  walnut,  mahogany  or  maple.  Finish  with  varnish  and  rub  down  three 
or  four  coats  to  give  a  dull  or  egg-shell  finish.  In  putting  cabinet  together 
glue  sides  up  first ;  lay  one  side  on  floor  with  inside  of  side  up  and  set  back 
panel  and  shelves  in  position.  Now  place  second  side  in  position  and  fasten 
with  glue. 


33 — Library  Chair 

A  high  school  problem.  In  design  this  is  a  novel  modification  of  the  Mor- 
ris Chair.  The  seat  and  back  should  be  covered  with  natural  leather  and 
fastened  with  large  iron,  brass  or  bronzed  tacks  which  are  given  the  "dead" 
rather  than  the  bright  finish.  The  leather  of  the  seat  should  not  be  stretched 
very  tight  at  first.  A  finish  similar  to  the  one  recommended  in  the  rocking 
chair  is  advised  here,  except  that  filler  and  stain  may  be  brown  to  harmonize 
in  color  with  the  leather. 


32 


34— Hall  Seat 

An  eighth  grade  or  high  school  problem.  Make  of  hard  pine,  poplar  or 
chestnut  unless  oak  is  desired.  If  poplar  or  puie  is  used  some  good  stain 
that  does  not  need  a  fixative  preparation  over  it  will  answer  all  requirements. 
The  design  may  be  varied  by  using  slats  on  ends  and  back  instead  of  the  two 
back  boards  as  shown.  If  the  seat  is  upholstered  with  leather  or  its  imitation, 
pantasote,  allowing  a  border  of  the  wooden  seat  about  two  inches  wide  to 
show  all  around  the  uphosltery,  the  piece  will  be  somewhat  improved  in 
appearance. 


35— Hall  Seat 

A  high  school  problem  offering  an  opportunity  for  some  wood  turning. 
The  chest  portion  of  the  seat  might  be  made  by  using  solid  rather  than  paneled 
sides  and  ends.  In  any  case  these  should  be  grooved  into  the  legs.  The  seat 
will  look  best  perhaps  when  made  of  some  hard  wood  and  finished  by  the 
process  of  staining,  filling  and  varnishing.  The  turned  parts  should  be  finished 
while  in  the  lathe  if  varnish  is  used,  in  order  that  it  may  be  properly  rubbed 
down. 


36— Desk  Chair 

A  high  school  problem.  This  makes  a  simple  chair  and  one  that  brings 
in  good  framing  problems.  Hard  pine  or  oak  will  be  most  serviceable.  If  a 
softer  wood  than  either  of  these  is  desired,  poplar  may  be  used.  In  case  an 
open-grained  wood  is  used  it  should  be  filled.  If  the  entire  wood  is  to  be 
colored,  stain  first  and  fill  afterward.  The  natural  wear  on  a  desk  chair  calls 
for  a  finish  which  will  preserve  the  stain ;  varnish  or  shellac  should  be  the 
covering  material. 

37— Hall  Chair 

A  high  school  problem.  This  is  a  suitable  project  for  a  boy  who  will 
take  pride  in  matching  the  grain  of  lumber  in  gluing  two  pieces  together  for 
seat  and  back.  Have  the  joint  come  in  the  center  of  each  of  these  parts.  A 
very  satisfactory  way  of  producing  a  striking  effect  is  to  resaw  a  piece  and 
double  the  two  parts  back  as  one  turns  the  leaves  of  a  book,  and  then  glue 
the  edges  together.  Cypress,  sycamore  or  hedge  will  be  suitable  wood.  Finish 
in  natural  color  with  dull  varnish  or  shellac. 

38 — Rocking  Chair 

A  high  school  problem.  It  is  advised  that  this  problem  be  undertaken 
only  by  high  school  pupils  of  considerable  ability.  The  variety  of  angles  in- 
troduced makes  the  cutting  of  joints  difficult,  although  not  too  hard  for  some 
pupils  of  high  school  grade.  The  back  cushion  is  left  off  in  the  sketch  to 
show  the  slatted  back.  The  cushions  may  be  made  by  pupils.  Pantasote  may 
be  the  outside  covering.  Make  a  canvas  case  first  and  fill  with  "Kapok,"  a 
material  shipped  from  India  and  not  as  expensive  as  curled  hair.  It  is  sug- 
gested that  the  bottom  of  corner  posts  need  not  be  set  into  rockers,  as  shown 
in  working  drawing,  as  one  will  not  rock  back  of  the  back  posts.  Stain  dark 
and  give  the  "Stain,  Filler  and  Varnish  Finish." 


34 


39 — Library  Table  with  Shelves 

A  high  school  problem.  Make  of  chestnut  or  oak.  Glue  up  the  four  sets 
of  corner  posts  first.  Second,  glue  in  shelves  and  panels  which  form  the  backs 
for  shelves,  and,  last,  fit  on  top  and  foot  board,  being  careful  to  have  legs 
plumb  and  ends  of  table  parallel  in  order  that  drawer  may  slide  both  ways. 
Finish  in  the  "Old  Dutch"  style. 


40— Library  Table 

A  high  school  problem.  This  is  a  very  simple  table  but  a  very  good  one. 
Oak  should  be  used  although  chestnut  will  give  a  good  finish  if  a  soft  wood 
is  desired.  In  either  case,  unless  one  has  the  facilities  for  fuming  large 
pieces  of  work,  the  wood  should  be  wet  after  all  parts  are  glued,  sandpapered 
and  scraped.  When  dry,  sandpaper  again ;  then  stain  and  fill  before  the  wax, 
shellac  or  varnish  is  used.  The  bichromate  of  potash  finish  will  be  very  at- 
tractive on  this  piece.  The  drawer  pull  is  made  out  of  one-eighth  inch  sheet 
brass  or  copper. 


35 


41— Writing  Desk 

This  is  probably  the  most  difficult  problem  in  cabinet-making  in  this  book 
but  the  desk  may  be  satisfactorily  constructed  by  high  school  pupils  of  un- 
usual ability.  The  problem  of  paneling  in  front  and  back  (the  same  in  each) 
is  a  good  test  of  technical  skill.  The  lower  part  of  the  front  when  lowered 
to  a  horizontal  position,  catches  under  the  middle  shelf  and  forms  the  writing 
table.  The  back  and  top  are  fastened  in  position  by  method  described  in 
the  notes  on  the  sewing  cabinet.  The  bichromate  of  potash  finish  or  some 
dark  stain  will  be  suitable.  If  the  stain  is  one  that  is  on  the  wood  instead 
of  in  it  a  covering  of  shellac  or  varnish  should  be  used. 


42 — Bookcase 

A  high  school  problem.  There  is  introduced  in  this  project  the  problem 
of  glass  paneling  and  leaded  glass  work.  The  back  is  made  in  two  panels 
similar  to  the  doors  without  the  middle  one-inch  stiles.  The  ends  should  be 
glued  up  first  and  the  case  set  up  as  described  in  notes  on  music  cabinets. 


36 


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PROBLEMS    IN    FURNITURE    MAKING 

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PROBLEMS  IN  FURNITURE  MAKINO 
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PLATE:  RACK 


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FRED  D.  CKAWSHAW 

PIOR1A,   ILLINOIS 

WALL  CABINET 

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PROBLEMS  IN  FURNITURE  MAKING 
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fUBLISHID 


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PROBLEMS    IN    FVKNITURE    MAKING 

FRED  D.  CRAWSHAW 


DESK  CHAIR 


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FKED  D.  CRAWSHAW 


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PROBLEMS    IN    FURNITURE    MAKING 

FRED  D.  CRAWSHAW 


V   ROCKING  CHAIR 


LEATHER  CUSHION  ON  SEAT  AND  BACK 
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PLATE  38 


PROBLEMS  IN  FURNITURE  MA 
FRED  D.  CRAWSHAW 


THE    MANUAL   ARTS    PRESS 


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PROBLEMS  IN  FURNITURE  MAKING 
FRED  D.  CRAWSHAW 


THE  MANUAL  Atrrs  PRESS 

PCORIA,  ILLINOIS 


LIBRARY-    TABLE. 
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PUBLISHED  BY 

THE   MANUAL  ARTS   PRESS 
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IU 


THE  "PROBLEMS"  SERIES 


OF  BOOKS  ON 


MANUAL  TRAINING 

WORKING  DRAWINGS  READY  FOR  USE 
THOROLY  GOOD  PROBLEMS  IN  CONVENIENT  FORM 


PROBLEMS  IN  WOODWORKING  by  M.  W.  Murray. 
A  collection  of  40  full-page  plates  of  working  drawings 
of  projects  that  have  proven  successful  in  the  grades. 
Price  - 75  cents 

PROBLEMS  IN  MECHANICAL  DRAWING  by  Chas. 
A.  Bennett.  Consists  of  80  plates  and  a  few  explana- 
tory notes.  Covers  simple  projection — straight  lines  and 
circles,  problems  involving  tangents,  planes  of  projec- 
tion, revolution  of  solids,  developments,  intersections, 
isometric  projection,  lettering,  and  working  drawings. 
Price $1.00 

ADVANCED   PROJECTS   IN  WOODWORK  by  Ira 

S.  Griffith.  Contains  fifty  plates  of  problems  in  furni- 
ture making,  suited  to  high  school  needs.  With  each 
working  drawing  is  a  perspective  sketch  of  the  com- 
pleted article.  Price $1.00 


PROJECTS  FOR  BEGINNING  WOODWORK  AND 
MECHANICAL  DRAWING  by  Ira  S.  Griffith.  A 
book  of  problems  for  the  use  of  pupils  in  grades  VII 
and  VIII.  It  contains  50  plates  of  working  drawings 
and  30  pages  of  notes  and  working  directions. 
Price  75  cents 

PROBLEMS  IN  FURNITURE  MAKING  by  Fred  D. 
Crawshaw.  The  revised  edition  of  this  book  contains 
43  plates  of  working  drawings  and  34  pages  of  text  in- 
cluding notes  on  the  problems  and  chapters  on  design, 
construction  and  finishes.  Price  -  .  .  $1.00 

PROBLEMS  IN  WOOD-TURNING  by  Fred  D.  Craw- 
shaw.    An  illustrated  textbook  on  the  science  and  art 
of  wood-turning.   It  contains  25  plates  of  working  draw- 
ings covering  spindle,  face-plate  and  chuck  turning. 
Price  -          ......80  cents 


PUBLISHED  BY 

THE  MANUAL  ARTS  PRESS,  PEORIA,  ILLINOIS 


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